The Life of Chuck

Director: Mike Flanagan
Starring: Tom Hiddleston, Chiwetel Ejiofor, Karen Gillan, Mark Hamill, Mia Sara, Nick Offerman, Carl Lumbly, Benjamin Pajak, Jacob Tremblay, Annalise Basso, Taylor Gordon, Kate Siegel, Samantha Sloyan, Trinity Bliss, Matthew Lillard, Violet McGraw, Heather Langencamp, David Dastmalchian, Cody Flanagan, Q'orianka Kilcher, Antonio Raul Corbo, Molly C. Quinn, Michael Trucco, Carla Gugino, Lauren LaVera
Running Time: 111 min.
Rating: R

**The Following Review Contains Plot Spoilers**

★★★★ (out of ★★★★)

In a year that's seen no shortage of Stephen King's work on screen, the feeling is that most of his films fit into one of two categories. Although he's best known for straightforward horror, it always seems to be the others that stop you dead in your tracks, forcing a double take to confirm it's his name appearing above the credits. But it wasn't until The Shawshank Redemption hit theaters in 1994 that perceptions of the author really started to change, earning him full respect outside the horror genre. And now we can properly credit this evolution for helping clear the path for Mike Flanagan's The Life of Chuck, one of the strongest King adaptations ever lensed. 

Based on a novella from the writer's 2020 short story collection, If It Bleeds, the film fearlessly explores the minutiae of everyday life, carefully walking a delicate line that separates mysticism from reality. And it comes from a director who's no stranger to King's material, having helmed Gerald's Game and The Shining's surprisingly well received sequel, Doctor Sleep, both of which share little in common with this. But who is Chuck? The answer is simpler than we expect, yet also much deeper and more profound. Every scene, moment and line of dialogue revolves around this title character, even when you're lulled into thinking otherwise. It's all about him, and in a strangely cosmic sense, also us. 

Middle school teacher Marty Anderson (Chiwetel Ejiofor) is having an awful day, even as many around the globe are suffering far worse. California was just struck by a catastrophic 9.2 earthquake, the internet is out worldwide, cars are falling into sink holes and suicides are way up. It could be the end and he's stuck sitting through unpleasant parent-teacher conferences when not being bombarded by billboards, commercials and advertisements thanking an accountant named Charles "Chuck" Krantz for "39 Great Years!' Marty's ex-wife Felicia Gordon (Karen Gillan), a nurse at the local hospital, isn't faring any better, with the pair leaning on each other during what could be their last days. 

Flashing back some months earlier, we follow a middle-aged Chuck (Tom Hiddleston), who while attending a banking conference has a spontaneous musical moment involving a street drummer (Taylor Gordon) and red-haired young woman (Annalise Basso) in the midst of a bad breakup. From there, we get a look at Chuck's childhood spent living with his kind but alcoholic grandfather Albie (Mark Hamill) and free spirited grandmother Sarah (Mia Sara) following the death of his parents and unborn baby sister. Torn between an interest in dance and Albie's insistence on a more practical path, Chuck is sternly warned by him to stay out of the house's locked cupola, only further piquing the boy's curiosity.  

Told in reverse chronological order, those expecting the life affirming tale hinted at in the trailers may initially be taken aback by an apocalyptic parable along the lines of a moodier, more philosophical Leave The World Behind. But the worst way to approach any of this is literally, like a puzzle in need of solving. Better described as the series finale of a life, there are clues, just not related to what you'd assume, some of which are caught on a second watch once the whole story's played out. 

Even when we struggle to process how much of the opening act's cataclysmic disaster is actually real, Marty and Felicia's sinking feelings of dread and hopelessness remain a constant. Exes with only each other to lean on as they try to process all that's happening during a deep late night conversation, the substance of their talk proves important later. We'll also meet other shaken residents, like Marty's manic neighbor Gus (Matthew Lillard), kindly, dignified town mortician Sam (Carl Lumbly), depressed single father Josh (David Dastmalchian) and a reappearing young girl on roller skates (Violet McGraw). 

With the situation worsening, a distracted Marty and Felicia still can't seem to figure out who this "Chuck" guy is or why his pleasant, bespeckled mug is everywhere of late, including through the illuminated windows of neighborhood homes. Becoming as ubiquitous as Truman Burbank, he's not old enough to be retiring so there's clearly something else going on. But as achingly believable as Ejiofor and Gillan are in these roles, they'll exit stage left when it's time to meet Chuck. 

In the first of Flanagan's many carefully calibrated tonal shifts, the story enters uncharted territory with the introduction of mild mannered insurance agent Chuck, who's briefly played by Hiddleston in a part smaller than you'd expect, but no less monumental. His encounter with this street drummer and bystander comes delightfully out of nowhere, with the actor gradually conveying all the complicated, inexplicable emotions flowing through Chuck in that moment.

This is also when Nick Offerman's narrator emerges as a character unto himself, supplying pointed and poignant observations lifted directly from King's prose. The actor's deep baritone and droll, bemused delivery is immediately recognizable when delivering a sarcastic, occasionally hilarious commentary that disproves the ridiculous theory all voice overs are lazy. Anything can be mishandled, but A Christmas Story and Arrested Development would probably like a word since both serve as a template for how Offerman deftly adds to the verisimilitude of Flanagan's universe.

Carefully placed but never overused, the narration builds and memorably punctuates certain scenes, like when tracking the three strangers as they cross paths in the spectacular, impromptu dance sequence that means more than we initially think. The thrilling choreography and performances provide a wake-up call, putting viewers on notice that the film's turned an unpredictable corner. But what's scarier is how it'll later be topped by an even better one. 

Joy begets tragedy when Chuck's childhood is drastically altered following his parents' death. Played by three different actors at separate ages, the heaviest lifting comes from a revelatory Benjamin Pajak as the 11-year-old version. And while he's nearly unrecognizable behind a scraggly, walrus-like mustache, Mark Hamill gives the performance of his career as Albie, at one point turning a speech that extols the virtues of mathematics into quiet devastation for a grandson whose ambitions are squashed in an instant. But in embodying this flawed but well meaning grandfather with such sincerity, we believe his advice comes from the right place, despite how visibly painful it is for the boy to hear.    

That moment puts everything previously shown into proper perspective, helping explain why Chuck stops at the sound of those drums later on the street as an adult, surrendering to a love that's laid dormant for decades as he pursued a more conventional career path. But many of his interests stem from his movie musical obsessed grandmother Sarah, a practical voice of wisdom and reason he always felt more connected to than Albie, mainly because she's so much fun. In her first acting role in over a decade, Ferris Bueller and Legend star Mia Sara doesn't get a ton of screen time, but does she ever make the most of it, her character's presence and impact reverberating long after she's left the picture. 

A seemingly superfluous side plot involving Chuck's extracurricular dance club hits hardest, forming the crux of the story's importance and bookending what that came before. This is Flanagan's finest hour, depicting the pangs of adolescence with relatable humor and heartbreaking nostalgia, avoiding the sappiness that would sink lesser films of a similar ilk. It's also full of small moments you don't want to see end, from Chuck's unforgettable interaction with hippie teacher Miss Richards (Kate Siegel) to his crush on taller, older dance partner Cat (Trinity Bliss) that culminates in the film's most moving scene. Everything about it is pure magic, including Chuck getting just the right advice from the coach (Samantha Sloyan) during a sudden attack of fear and insecurity. And while there's real doubt how things will turn out, the pay off is exhilarating, with Offerman's narrator capping it all off with a perfect line that encapsulates a kind of memory that can't be described. 

Invoking elements from The Tree of Life and even Robert Zemeckis's Here, Flanagan gives the material a Spielbergian touch by celebrating the profound intricacies of human experience in ways that speaks directly to mainstream moviegoers. With cinematographer Eben Bolter expertly conveying each chapter's distinctive look and The Newton Brothers' sweeping score carrying us through, it feels like the type of dramatic fantasy that would have blown theatergoers away in the 90's and 00's. Bubbling just under the surface is this mystery that comes to a head in its closing minutes, pulling back the curtain with a reveal that leaves you gasping for air as the credits roll. 

Between an off-putting title, its inexplicable 'R' rating, poor promotion and getting dumped into theaters a year after winning the top prize in Toronto, it's obvious the studio didn't have a clue how to sell a film this adventurous. A meditation on life and death in reverse, shocking developments and surprising performances pop up at every turn, forcing viewers to question the journey they're really on. And with a myriad of tiny details left for discovery on repeated viewings, it saves the best act for last, making it a rarity among King's prolific output.                         

Civil War

Director: Alex Garland
Starring: Kirsten Dunst, Wagner Moura, Cailee Spaeny, Stephen McKinley Henderson, Sonoyo Mizuno, Jefferson White, Nelson Lee, Nick Offerman
Running Time: 109 min.
Rating: R

★★★★ (out of ★★★★)  

It seems the biggest obstacle still facing those on the fence about seeing Alex Garland's unnervingly realistic dystopian thriller Civil War is the worry it's too political. Trailers and commercials have done little to alleviate those concerns, prompting many to already file this under "the last thing we need right now." But the biggest surprise to come out of this harrowing war drama and road trip movie is just how apolitical it actually is. Instead, it's the harsh immediacy of Garland's fictitious scenario that stands out, rarely offering a breather from the emotional and psychological trauma engulfing these characters.

Clearly intended to serve as a cryptic warning, Garland knows it isn't about picking sides, but crafting a sci-fi parable where there are no easy choices. What separates us destroys us and that certain details remain vague feels fitting since audiences will just end up projecting their own beliefs and viewpoints onto it anyway. Everyone sees themselves as the hero in their own story, with the film far less interested in the cause of this polarization than its potentially dire consequences.

The United States is in the midst of a civil war and an authoritarian government led by a third-term president and accused fascist (Nick Offerman) is on the verge of surrendering to the Western Alliance, consisting of armed militias from Texas and California. With the entire nation split into various factions, jaded war photographer Lee Smith (Kirsten Dunst) and her Reuters colleague Joel (Wagner Moura) plan on driving to Washington D.C. to interview the embattled president. Their mentor Sammy (Stephen McKinley Henderson) views it as a careless suicide mission, but joins in to get a ride to Charlottesville, Virginia's front line. 

Also tagging along is aspiring young photojournalist Jessie Cullen (Cailee Spaeny), who Lee encountered during a previous bombing and is none too happy about "babysitting" on this trip. Soon, all four are thrown headfirst into deadly situations few in any profession would be capable of handling. Evading sniper fire and ruthless militants, they continue their trek to D.C., unsure of the violence that awaits, providing they survive long enough to experience it.

There's no voice-over telling us who's in what faction, why certain states seceded, nor are we given an extensive recap detailing the background. Like the characters, we're just kind of dropped into this hell and given enough respect to figure things out on our own without sermonizing or judgment, making the unfolding atrocities all that much scarier. And while valuable information is frequently dispensed, most of it comes through these journalists as they struggle to objectively navigate this brutal situation. 

Texas and California's union indicates the script isn't tipping its hand in either direction, as it shouldn't since these events are presumed to be taking place in a hypothetical future. That detractors have ignored this is a credit to the film's realism, further supporting its point that a similar scenario is right around the corner if work isn't put in to prevent it. Well beyond politics, wars often begin for crazy, pointless reasons that only seem logical to those who start them, yet always remain preventable before, during and after they're already underway.    

This is far from Lee's first rodeo, mastering the art of compartmentalization because no photograph is off limits. For her, Jessie's presence is an irritant, most likely because the sensitive, inexperienced Missourian represents the younger version of herself she had to leave behind to do this. If Lee's flattered by Jessie's idolization of her, she sure won't show it, which is hardly a surprise coming from someone who admits she wouldn't hesitate photographing her newest protege being killed. And when a traumatized Jessie freezes during a scary gas station encounter, Lee's stone cold reaction only confirms it.

While unquestionably an ensemble effort, it's Dunst's movie, barely hinting what lies beneath Lee's numb outer shell as it finally starts to crack, the lines and expressions on her face telling us everything we need to know. And having recently played a naive, impressionable character thrown into a world she can't comprehend in Priscilla, Spaeny portrays another odd woman out in Jessie, who's underestimated at every turn. Wanting nothing more than to walk in the shoes of her idol, she'll get that chance, but this rite of passage won't be worth celebrating. 

If Jamie represents who Lee was, it's Sammy she fears becoming, and veteran character actor McKinley Henderson plays him with a plainspoken sincerity and wisdom that comes from experiences the rest don't yet have. A New York Times field reporter aging out of his job, he knows the score and despite his awful, sinking feeling about this trip, he's not quite ready to ride off into the sunset. Of the four, Maura's Joel is the risk-taking adventurer, but even he'll realize this is way more than any of them bargained for. None have the luxury of denying reality, unlike the residents of a quaint, unaffected rural town they'll pass through, as if it were a stop in The Twilight Zone.

The film's scariest moment comes when the four encounter a sadistic militia leader played by Jesse Plemons in a brief, terrifying turn that makes his Todd from Breaking Bad seem like a boy scout. It's also the point where Garland draws a line in the sand, forcing us separate the few details we know about this conflict from evil in its purest form. And in a film filled with jarring, unforgettable shots from cinematographer Rob Hardy, this sequence provides its queasiest, paving the way for a brilliantly shot action finale that sees Western Forces descending upon D.C. in search of a secluded president running low on options.

It's hard to believe a picture this gigantic in scope runs just under two hours, but Jake Roberts' editing ensures that the pacing never lags and there's barely a minute to come up for air, with fear and dread intruding on even the quietest of scenes. Zeroing in on the involuntary instincts that kick in when confronted by humanity's worst, these adrenaline-addicted journalists are rightly scared to death, but joined by a shared obsession to tell the story through their lens, whatever the cost. In depicting a nation fraying at the seams, Civil War recognizes the media's reckless ambition, while also acknowledging just how much of themselves get lost in the process. Everyone thinks they're ready, but it isn't until entering the belly of the beast that they'll find out.                                  

Dumb Money

Director: Craig Gillespie
Starring: Paul Dano, Pete Davidson, Vincent D'Onofrio, America Ferrera, Myha'la Herrold, Nick Offerman, Anthony Ramos, Seth Rogen, Talia Ryder, Sebastian Stan, Shailene Woodley, Kate Burton, Clancy Brown, Dane DeHaan, Olivia Thirlby, Deniz Akdeniz
Running Time: 104 min.
Rating: R

★★★ ½ (out of ★★★★) 

If The Social Network and The Big Short had a baby, you'd think it would probably resemble Craig Gillespie's Dumb Money, which begins hecticly, with numerous characters, real news footage, viral videos and a plot that seems destined to be more convoluted than necessary. But this adaptation of Ben Mezrich's bestseller detailing the infamous GameStop stock squeeze has a method of delivery we haven't exactly seen yet. A full-blown 2021 period piece, it succeeds by immersing viewers in the chaotic headspace of its players during that challenging year. It's the film's ace in the hole, dropping us in an easily recognizable universe that still feels jarring despite its recency.

Gillespie and writers Lauren Schuker Blum and Rebecca Angelo clear a high creative hurdle by framing this very specific event in a larger context, with those involved becoming inseparable from the madness surrounding them. Even when taking wild detours, it really grows on you, picking up steam by balancing some clever laughs with dramatic heart. But unlike the aforementioned Big Short, this doesn't assume audiences won't get it, instead telling an easily digestible story that works regardless of how familiar you are with the intricacies of what actually happened. And at its center is a likably eccentric Paul Dano performance that earns respect and sympathy for the brainy instigator behind this financial hysteria.

It's June 2020 at the height of the COVID-19 pandemic when Massachusetts-based financial analyst Keith Gill (Dano) streams his stock market picks on YouTube under the name "Roaring Kitty" and posts on the WallStreetBets subreddit. After noticing the drop in fledgling video game retailer GameStop's stock, Keith pours all his savings into it, drawing eye rolls from his underachieving brother Kevin (Pete Davidson) and colleague Briggsy (Deniz Akdeniz). But assuming the chain will close, hedge fund firms like Gabe Plotkin's (Seth Rogen) have been short selling the stock, causing a price increase, as Keith's online followers pounce and start buying. 

Those buyers include financially struggling nurse Jennifer (America Ferrera), lesbian college couple Riri (Myha'la Herrold) and Harmony (Talia Ryder) and GameStop employee Marcos (Anthony Ramos). With the stock continuing to rise and investment CEOs losing millions by the day, Wall Street and the entire country take notice, with Keith emerging as a middle class hero to the masses. Scraping by to help provide for his wife Caroline (Shailene Woodley) and newborn baby, selling at the right time could make him a millionaire, but that becomes complicated when influential financial firms and the government start to catch on.

The film opens with a bang before going backwards, showing how this cat-obsessed vlogger rides a hunch based on experience and knowledge, in the process accomplishing what no one else was crazy enough to try. While you can quibble with how the script depicts him as a clueless nerd who stumbles onto a plan that was probably more calculated in reality, Dano's so engaging in the role it hardly matters. Once he was cast, it had to go in this direction, as the actor so accurately channels the type of quirky, painfully honest personality that catches fire on social media. 

Gillespsie's recreations of the headband, tie dye wearing Keith's videos are rivaled only by his take on the guru's loyal subscribers, who we follow through a series of individual side stories, none of which get the short shrift. They're all either financially struggling, excited about the risk or looking to screw over these greedy CEOs. Once this crack in the system is exploited, legal questions arise, as do ethical ones related to the tactics of Rogen, Nick Offerman and Vincent D'Onofrio's billionaires. They arguably opened the door for this and the eventual damage inflicted by Robinhood's shady chairman Vlad Tenev (Sebastian Stan), whose attempts to stop the bleeding land him in the government's crosshairs.

Much of the film's immediacy stems from its pandemic timeline, allowing the opportunity to capture these working people struggling in a stressed economy they're on the bottom rung of. But unlike other projects that very reluctantly covered the era with kid gloves, this has the conviction to visualize its effect on everyday life, masks and all. Scenes with the buyers play almost as episodic vignettes with Gillespie jumping from one character to the next, each bringing a different energy that helps unify the plot. 

As an essential worker at the end of her rope, America Ferrera might be even better here than in Barbie while Anthony Ramos' GameStop employee brings the laughs in a hilarious ongoing feud with his passive aggressive supervisor played by Dane DeHaan. Pete Davidson also knows exactly what to do, when, and how much as Keith's loud, irritating freeloader of a brother. At the other end of the spectrum is the latter's supportive but realistic wife Caroline, who Shailene Woodley plays with pragmatic perfection, offering up a necessary dose of reasonableness.  

There's a big speech lifted from Keith's actual hearing testimony that hits its mark in the final act and Dano's delivery makes it soar, driving home the point they were all cheating a rigged a game. Incorporating actual news footage, real message board posts and memes throughout, it's fun anticipating what happens to everyone involved, mainly because they all have such different endings, a few more favorable than others.

Those completely unaware or uninterested in the stock market can not only follow this, but should be hooked, knowing it touches on something bigger and more relatable than dollars and cents. Investment firms may have considered the general public "dumb money," but Gillespie's film is anything but, proving that whatever creative liberties taken resulted in a more entertaining version of actual events.    

The Founder

Director: John Lee Hancock
Starring: Michael Keaton, Nick Offerman, John Carroll Lynch, Linda Cardellini, Patrick Wilson, B.J. Novak, Laura Dern
Running Time: 115 min.
Rating: PG-13

★★★★ (out of ★★★★)

When we first meet Ray Kroc, a failed traveling salesman in his early fifties from Illinois, he's peddling industrial milkshake mixers to uninterested restaurant owners. That is until he meets the McDonald brothers, the only two guys crazy enough to buy from him. What happens when Ray goes out to their San Bernadino, California diner in 1954 is not only one of the most memorable sequences in John Lee Hancock's The Founder and the story's catalyst, but a love letter to the power of creativity and amazement. If it was hard to grasp just how revolutionary the concept of McDonald's was at the time, Ray's reaction to getting his burger in 30 seconds in disposable wrapping as families enjoy their meals next to him, tells you all there is to know. You can see and feel exactly why he's so bowled over by it, and watching the scene, you'd be forgiven for thinking it's the greatest idea that ever was. At the time, and even today, there's a lot of truth in that. But an idea is just that until it becomes something more. Something bigger. Ray Kroc liked to think big and after years of hawking bad products, he knew a sure bet when he saw it. What he lacked in creativity he made up for ten times over in persistence and business savvy. A visionary who saw the limitless potential in someone else's concept, he ran with it in a way they couldn't, morality and consequences be damned.

At its core, The Founder really boils down to one question: At what point does an idea become so great that it needs to be shared with the world? And once it is, what's the cost? The answer to that casts a shadow over the film that completely reframes Ray's aforementioned visit to McDonald's Burgers in San Bernardino and his contagious enthusiasm. He was right to do whatever it took to push this through just as the McDonald brothers were in fighting to preserve the integrity of their creation every step of the way. And just as he was wrong to screw them out of what was rightfully theirs, an equally strong case can be made for their inflexibility and resistance to change. And yet the man we see at the end, as ethically compromised as he is, still strangely remains very much the same one we met at the beginning. That's the true genius in Michael Keaton's complicated, unfairly overlooked performance, which already seems destined to go down as one of the most underappreciated of his career.

The arrival of Ray Kroc (Keaton) at McDonald's Burgers represents for Dick (Nick Offerman) and Mac (John Carroll Lynch) and Mac McDonald to correct an opportunity they let slip through their fingers once before. An unsuccessful previous attempt to franchise out their revolutionary fast food burger joint was marred by the challenge of maintaining the same high level of customer service and food quality throughout the chain. Enter Kroc. The brothers are approached, and actually somewhat stalked, by the Prince Castle salesman who's so impressed with their unique business model emphasizing a speedy food delivery service that keeps costs down, he wants to hear their story. And it's a pretty amazing one, as they tell him how they started out in the movie industry before eventually landing in the food service business, which they thought was in serious need of some tweaking. Chalk diagrams on a tennis court provided the blueprints for what would become McDonald's kitchen, with each station serving a specific function in getting quality food to the customer as quickly as possible. No more waiting at drive-ins.

While Dick's heavily skeptical of Ray's interest from the onset, Mac's convinced they finally found the guy that understands their product and can help them fulfill their dreams of expansion. After appealing to their sense of patriotism, envisioning the golden arches side by side with American flags and church steeples across the nation, they reluctantly agree to a deal.  And while it initially does seem to be the perfect match for all involved and Ray makes some smart decisions, the brothers' traditional approach soon clashes with his towering ambition. Mortgaging his home while sacrificing his marriage to wife Ethel (Laura Dern), he continues expansion at a rapid rate, soon realizing this will never work unless he hires the right people and gets out from under the thumb of the brothers, who have him locked in a contract mandating them final say on any new idea he has. In order to succeed Ray will have to get creative, even if the morally questionable moves he makes in the name of business could forever taint his claim as the true "founder" of McDonald's.  

If Ray sees dollar signs the first time he lays eyes on the brothers' establishment, there's also a certain admiration and respect for what they created, as well as a desire to prove to everyone he isn't the failure they believe him to be by shepherding it to greater success. While he likes the brothers, he also knows they're gullible and not businessmen, which could explain why they were presumably taken for a ride in their last attempt to franchise. They need him just as much as he needs them if there's any desire in the brothers to build on their creation. And Ray isn't kidding himself on his own prospects either. He's at an age where this is clearly his last shot and he's already looked at as a joke by he and his wife's country club contemporaries, who can't wait to get in on the action when they realize his latest dream could actually bare financial fruit.

Ray's complete rejection of these rich, retired country clubbers' investment in this franchising when he recognizes their laziness and lack of commitment is probably his finest hour. Seeing him outside the restaurant on his hand and knees cleaning up the trash, more determined than ever to hire those who work and care about quality is the strongest case to be made for him as a decent human being. That, and his willingness to hire anyone from any walk of life (sometimes right off the street) he feels will do a good job is another feather in his cap. And yet Ray is also one of the worst candidates to accumulate such success and wealth at this rapid a rate because he's been beaten down so long. With a chip on his shoulder and something to prove, he's like a kid in a candy store when given just a taste of it. Not only does he roll over the McDonald brothers, he basically discards Ethel at the first sight of Joan (Linda Cardellini), the captivating wife of a franchisee (Patrick Wilson).

Despite knowing the terms when he signed, you could see how the brothers' dismissal of every one of Ray's ideas as crass commercialism or off-brand send him over the deep end. Ray definitely doesn't play fair and surely doesn't care, but while even his more Machiavellian methods could be defended as necessary to getting McDonald's where it needs to go, it doesn't explain the lack of credit or compensation for them once it gets there. He'd explain it away by saying it was business but you can't help but think back to Dick's statement that they "let a wolf in the hen house." Toward the third act of the picture it becomes clear that they may have actually franchised out their company and lives to someone whose business ethics are more closely aligned with Daniel Plainview's from There Will Be a Blood.

The casting of Keaton as Kroc is nothing short of a masterstroke. He's so inherently likable as a scrappy underdog that it could seem incomprehensible he'd take the actions he does later if not for the fact that this is an actor equally skilled at going to those darker, unlikable places. John Lee Hancock (director of The Blind Side and writer of 1993's A Perfect World) hasn't necessarily made a dark film here, but against the bright, nostalgic hue of 1950's America gorgeously photographed by cinematographer John Schwartzman and memorably scored by Carter Burwell, is this undercurrent of greed and avarice. Most of that is provided by Keaton, who has to simultaneously juggle multiple balls in the air playing someone who could have easily been categorized as one-note meglomaniacal businessman in the hands of a lesser performer. We don't sense your typical "transformation," because what happens is exactly what Ray wanted to have happen the second he saw McDonald's Burgers.

That gleam in Keaton's eye was there when he stepped on the lot and it's up to audiences to reconcile that with what comes later. While a specifically memorable shot in the film directly references a key moment in Citizen Kane and while it shares similar themes, a better comparison might be The Social Network, as a rejected outcast finally gets the opportunity to prove himself, hurting those around him on his way to the top. This is Keaton's movie, as it should completely be, but Nick Offerman really shines in his best big screen role to date as the doubting Dick McDonald, who ends up getting sucked into this anyway despite all his initial misgivings about how it could adversely affect his brother's health.

Released with such little promotion and fanfare that few knew it existed at all, it almost seems fitting that the studio behind The Founder is embroiled in a lawsuit over how mismanaged its release actually was, potentially costing Keaton another shot at an Oscar, this time for a performance that certainly would have otherwise gotten awards attention. Someone dropped the ball, which is a shame considering it's exactly the kind of film we need right now, and one of a select few this year that says as much about the times we live in now as the seemingly bygone era during which it took place. Hate or love Ray Kroc, there's no denying that what he did worked and had a serious effect on consumerism and branding all over the world, with its ripples still very much being felt today. How he did it should continue to be fodder for debate. You could say he drank the McDonald brothers' milkshake. And as an added insult, he used powdered milk.
                        

Smashed

Director: James Ponsoldt
Starring: Mary Elizabeth Winstead, Aaron Paul, Octavia Spencer, Nick Offerman, Megan Mullally, Mary Kay Place, Kyle Gallner
Running Time: 81 min.
Rating: R

★★★ ½ (out of ★★★★) 

There are certain actors and actresses you're just a fan of. It would probably be easier to deny it and pretend I go into every movie with complete objectivity, but the fact is that I'm much more likely to watch and appreciate a film starring performers I like and have followed throughout their careers. I want them to make smart choices that confirm my opinions of their talent, and if they don't, it's disappointing. Three of them co-star in James Ponsoldt's Smashed, a film about alcoholism that's really about a descent into sobriety. Mary Elizabeth Winstead, Aaron Paul and Nick Offerman appearing together in a single film reading from a phone book probably would have been enough for me, but here's Winstead giving an award caliber central performance as an alcoholic, Paul as her immature, unsupportive husband and Offerman proving he can inhabit a character that's about as far removed from Parks and Rec's Ron Swanson as possible. On top of that, the film itself is nearly perfect in a straightforward, no-nonsense way that may not be immediately apparent. It plays honestly, but without judgement.

Winstead plays Kate Hannah, a schoolteacher who also happens to be an alcoholic. We see in early scenes that, as the former, she's amazingly kind and patient with the kids and pretty much every parent's dream of who they'd trust with their children. Until, hungover from another night of partying, she vomits all over the classroom floor. The kids ask her if she's pregnant and, panicking, she to lies them and a supportive Principal Barnes (Megan Mullally). It's likely Kate's been an alcoholic for a while but is just now starting to come around and realize it. She's not there yet, but getting close. Hardly helping is her equally hard partying husband, Charlie (Paul) whose complete obliviousness to their situation and terminal complacency are the only qualities making him seem like he doesn't have as much of a problem as she does. Kate's only real support comes from the soft-spoken vice principal Dave Davies (Offerman), a recovering addict not only willing to cover up her lie because he has a big crush, but also willing to take her with him to AA meetings where she meets her sponsor, Jenny (Octavia Spencer). On the road to recovery, Kate discovers sobriety is slowly tearing her marriage apart, as a still drinking Charlie feels left behind and a slew of other problems start to surface.  

It seems to be a commonly held belief about young people that their drinking and drug use will never escalate to alcoholism or addiction, and it carries over into movies where the middle-aged tend to be the most serious substance abusers. It's almost as if young adults are expected to be doing it, and, as a result, should be able to handle it just fine. At the beginning of this film you'd almost be forgiven into thinking so, until a moment comes that's frightening in how well Winstead sells it. Waking up on the street with no idea where she is or how she got there, it's the first time Kate seems legitimately scared and mortified of what she's capable of when drinking. During a memorable sequence scored to Richard and Linda Thompson's "I Want to See The Bright Lights Tonight," we see Kate spend the night smoking crack with a hooker, and it's after that she realizes it's the final straw. But really it's just the beginning. Short-term, her decision to embrace sobriety surprisingly causes more problems than it solves in her marriage and life, while bringing dormant ones to the surface, such as an already strained relationship with her mother (Mary Kay Place).

There were already strong hints of Winstead promise in 2011's The Thing prequel and now seeing this it'll be easier to understand why I suspected that role in Scott Pilgrim was way beneath her. This confirms it. It's almost become a long-running joke that playing an alcoholic is every actor's dream since it invariably leads to awards recognition of some sort, but there's a reason for that. It's difficult to do believably. She doesn't squander the opportunity, knowing that drunk people often behave like delusional sober people, completely ignorant to everything going on around them. And it's the mode she's in for the entire first half of the film, which is no small feat. But it's when the drinking stops that her performance really kicks into high gear, as Kate's eaten with guilt over her sobriety driving a wedge through her marriage. She also has to ward off the advances of confidant and co-worker, Dave, though using the term "advances" is probably stretching it given his struggles talking to women. Offerman leaves all traces of the manly, breakfast obsessed Ron Swanson behind in a really subdued, low-key dramatic performance that still doesn't completely abandon the dry sense of humor he's known for. It proves, unsurprisingly, that he's capable of other things.

Aaron Paul plays Charlie as a good guy, but also one stuck in a complacent holding pattern. In this way, he resembles Jesse Pinkman of Breaking Bad's early seasons (right down to the substance abuse and playing video games on the couch) to the point that he'll probably be accused of just playing a variation on his TV character. But this speaks more to our familiarity with Paul than the actual performance, which is surprising in how he cedes so much of the spotlight to his co-star. Now that Kate's sober, there may no longer be a place for him in her life and they'll have to take stock as to whether they ever had anything that went beyond drinking and partying. We also wonder if she can move past how unforgivably unsupportive he's been in her recovery. But much like Flight, the other 2012 film dealing with alcoholism, Kate won't really be clean until she admits she isn't and takes responsibility for her lies.

Watching Smashed, I couldn't help but wonder how badly it would have turned out if a major studio had released it, interfering to make it more exciting or dumbing it down so a depressing topic like alcoholism could be more cheery and accessible. Thankfully, we'll never see that version and I'm given the opportunity to see three of my favorites given free reign to just tear into this meaningful material with everything they've got. It also marks the first time I've seen a movie character pulled over for driving drunk...on a bicycle. First-time director Ponsoldt makes it happen but it's easy believe the hard part was over once this cast was set in place. It wasn't until the end that I realized Paul and Offerman don't share a single scene together. And that feels strangely like the right call. For the story's purposes, there's no need, so they don't.  But the film ultimately belongs to Winstead, revealing dimensions to her abilities even her biggest fans couldn't have anticipated. And that she does it opposite two of TV's best, only makes the accomplishment seem that much greater.

21 Jump Street

Directors: Phil Lord and Chris Miller
Starring: Jonah Hill, Channing Tatum, Brie Larson, Dave Franco, Ellie Kemper, Rob Riggle, Ice Cube, Nick Offerman, Jake Johnson, Chris Parnell, Holly Robinson Peete, Johnny Depp
Running Time: 109 min.
Rating: R

★★★ ½ (out of ★★★★)

It's early on in 21 Jump Street when rookie officers and former high school classmates Morgan Schmidt (Jonah Hill) and Greg Jenko (Channing Tatum) are drolly informed by Capt. Hardy (Parks and Rec's Nick Offerman) that they've been taken off bicycle park duty and reassigned to the recently resurrected "Jump Street" project. He then goes on a rant about how the department lacks creativity and must pathetically recycle their old programs because they've run out of ideas. It was right about there that I sensed this could work. But I couldn't have guessed it would rank amongst the very best recent mainstream comedies, sharing only its title and (briefly) Johnny Depp with the cheesy 1980's FOX cop drama. Gut-bustingly hysterical from start to finish, it's the rare comedy where everything works and the laughs are firing on all cylinders. Subversive and smart, it executes what's actually a very clever premise to its fullest potential and then some. Eyes may have rolled when this project was announced, but the result isn't what you'd think. Not only does it avoid the creative fate of so many failed TV to film adaptations like the The A-Team, Miami Vice or Starsky and Hutch, but it wouldn't surprise me if it shows up on more than a few top 10 lists at the end of the year. Including mine. It's that good, ingeniously merging both the cop buddy movie and high school comedy formula for maximum enjoyment.

Reporting to the Jump Street chapel, Schmidt and Jenko are informed by the hotheaded Captain Dickson (Ice Cube) that, due to their youthful appearances, they've been selected to go undercover at a local high school to infiltrate a drug ring that led to a student's death. Posing as brothers, their intended fake identities are accidentally switched, forcing them to take each others' classes. But when they discover the dealer is popular student Eric (Dave Franco), both must make it a priority to take him down, even as Schmidt's falling for the  Molly (Brie Larson), a pretty girl in his drama class who's also Eric's girlfriend. Jenko hangs out with the nerds in AP Chemistry as his sexually frustrated teacher (Ellie Kemper) tries to put the moves on him. Mesmerized by their chance to re-live high school and engulfed in its social hierarchy, they're often so distracted that they forget they have a drug supplier to find and a potentially dangerous case to crack in order to be taken seriously as cops.  

The movie's best comedic moments are situational and the clever script by Michael Bacall is surprisingly high concept in how it marks the huge difference for these two characters from the first time they went through high school way back in 2005. In an embarrassingly hilarious and endearing opening flashback sequence we see Schmidt, with hair bleached blond like Eminem, attempt (and fail) to ask a popular girl to the prom as dumb jock Jenko mocks him. Years later they're helping each other get through police training, but when they arrive to go undercover they can't help but wonder if they'll settle right back into their teen roles again, with Jenko as the popular jock and Schmidt the nerd. But here's where the film's really smart in its execution. From the second they arrive, it's clear things aren't what they used to be. Bullying is now a serious offense, the jocks aren't as high on the social ladder, and drama class is actually considered cool. The explanation given for all this: "Glee." And ironically it seems the very same overbearing, sincere qualities that initially made Schmidt a loser his first go-around around make him insanely popular in this new environment.

With their switched identities, both are forced to do things we wouldn't expect from either the characters or actors playing them, which create most of the laughs. Just the thought of seeing Channing Tatum (who classmates justifiably think is about 40) giving a chemistry presentation or Jonah Hill playing Peter Pan in a school production would be funny enough on its own, but because the story actually gives us a  reason for it, these scenes play even funnier than they should. Taking this role was the best move Tatum could have possibly made, erasing the stigma that he's wooden and uncharismatic. He's definitely the straight man to the noticeably slimmed-down Hill, but his comic timing is impeccable, showing range as an actor beyond what was assumed. Pairing him with Hill was a masterstroke precisely because of how different they are physically and otherwise. You wouldn't expect them to have great chemistry together but once they get going, it's such a home run that it seems crazy someone didn't think of teaming them sooner. Hill has the trickier role, having to play up his emerging popularity while still viewing himself as somewhat of a loser because of his history. He's especially effective when he gets a taste of that unfamiliar, previously unattainable respect and it goes straight to his head, causing him to get so involved in this world that he practically forgets he's undercover. And as he does, we do as well because directors Phil Lord and Chris Miller do such a good job depicting this environment and everyone's place in it.

Brie Larson's Molly doesn't feel like your typical love interest and a far better written character than we're used to seeing in a comedy like this. Her relationship with the popular Eric isn't really even much of a relationship at all and that's fully acknowledged, giving her a real presence and personality that exists outside of her being on a guy's arm. But the biggest credit to the maturity and wit Larson brings to the role is that we're genuinely rooting for Hill's character to win this girl over and laughing too hard to even consider the moral or legal ramifications of an undercover cop picking up a high school student. Granted we know the actress is older and it's a comedy, but that's still impressive and proves the directors and actors really have a airtight grip on tone, allowing nothing to get in the way and somehow sidestepping any creepiness (the same applies to the sub-plot with Tatum and his teacher). It also helps that many of Larson's dialogue exchanges with Hill are authentic and funny. Just based on her work here, she seems primed to travel a route similar to Emma Stone, receiving the same massive, well deserved bump that actress experienced starring opposite Hill in Superbad. The impression she makes is just as strong.

Dave Franco, James Franco's younger brother, looks and acts exactly how you'd expect Franco's little bro to look and act, which can't be viewed as anything but a compliment. It's almost inaccurate to call his character a bully since he's a new kind of bully: The wuss. Eric doesn't exactly fit the standard teen movie profile of a jock with a hot girlfriend, and he's only slightly unlikable, allowing Franco to do something a little different with what's usually a tired character. As strong as Hill and Tatum are as a tandem, it's hard to envision the film being of the same quality with actors other than Larson and Franco opposite them. Comedian Rob Riggle also manages to really bring the sleaze as a scumbag gym teacher.

It probably seems like I've given away too much, but in actuality it's nothing. The real joy is in watching this clever story out and witnessing the chaotic and hysterical scenes unfold. Whether it's a wild drug trip, Schmidt's house party gone bad, a high speed car chase, a school play gone very wrong, or the exciting prom night climax, the movie rarely steps wrong and is consistently funny all the way through. And as for the expertly placed Depp cameo, he comes off more entertaining and energized during these brief moments on screen than he was on the original show that launched his career, and probably most of his recent movies. But this is Hill and Tatum's show. They own it, together comprising one of the more unusual and likable comic duos in a long time. Supposedly, the wheels are already in motion for a 21 Jump Street sequel, and if this film's quality is any indication of what's in store, it can't arrive soon enough.

TV on DVD: Parks and Recreation (Seasons 1 and 2)

Creators: Greg Daniels and Michael Schur 
Starring: Amy Poehler, Rashida Jones, Aziz Ansari, Nick Offerman, Aubrey Plaza, Chris Pratt, Adam Scott, Rob Lowe, Jim O' Heir, Paul Schneider 
Original Airdate: 2009-2010 

Season 1: (★★★ out of ★★★★)

Season 2: (★★★★ out of ★★★★)

So, after two years complaining about Netflix, I've finally discovered its biggest benefit. It ties you down and forces you to watch things you either have little interest in or can't motivate yourself into making time for. It's a benefit that's rarely paid off to the extent it has with Parks and Recreation, a show I wouldn't have otherwise watched in its regular Thursday time slot on NBC. It's likely no amount of critical praise or glowing recommendations could have possibly convinced me NBC could actually be airing smart or edgy entertainment, much less what Entertainment Weekly calls the "smartest comedy on TV." The show sharing the same creators and mockumentary style as The Office has caused many to inaccurately label it as a "spin-off" when in it has absolutely nothing in common with that series at at all beyond a mild similarity in presentation. In comedic approach its closer to Arrested Development, and in being the sharpest comedy to air since that ingenious show ended in 2006, it's now filled a giant void . They'll be those who break down and watch, only to get this strange urge to jump ship after the six episode long first season, thinking it just doesn't meet the hype. Don't do it. Throwing in the towel too early is a mistake at the level of abandoning Lost toward the middle of its run. The show builds slowly, with every episode getting a little stronger along the way. That's not to imply there's anything horribly wrong with the first season (other than it being way too short), but it serves mainly as an introduction to the characters and situation, laying the groundwork and planting the seeds for one of the funniest seasons of sitcom comedy in years.

After this methodical start, the writing starts firing on all cylinders in the second season and the show embarks on this creative hot streak, picking up steam with each passing episode, all while hysterically fleshing out every character and finding the perfect tone. If the term "jumping the shark" describes when a show unofficially reaches its expiration date, maybe a new phrase should be instituted to describe when it really finds its groove creatively and there's no looking back. For Parks and Rec it happens toward the end of the first season in an episode entitled "The Banquet." In it, Leslie Knope (Amy Poehler) the Deputy Director of the Pawnee Parks Department in fictional Pawnee, Indiana arrives at a dinner honoring her mother in a suit with a boyish haircut and her embarrassingly overdressed friend Ann (Rashida Jones) while her boss, Parks Director Ron Swanson (Ken Offerman) proceeds to deliver a speech based entirely on fact ("It is true that you have won this award."). From that moment and the next 25 episodes that followed I couldn't stop laughing once, but to explain to someone who hasn't seen Parks and Rec what makes it so great is difficult. There's definitely a "you had to be there" vibe to this kind of humor that, like Arrested Development, won't hit the mark with everyone and the ratings already reflect that. Comedy is probably the most subjective of all genres, but for those who like it really dry, this hits huge.

The first season mainly centers around a pit that upbeat do-gooder Leslie wants to turn into a park after Ann's freeloading boyfriend Andy Dwyer (Chris Pratt) falls into it, breaking both legs and temporarily derailing his aspiring music "career," which he enthusiastically describes as "Matchbox Twenty meets The Fray." If I ever accidentally fall into a pit I can only hope nurse Ann is there to serve my lazy ass pancakes on the couch and I get to write a song about about my experience as memorable as "The Pit," which Andy eventually performs with his band "Mouse Rat," or whatever they're known as that week, since he continuously changes their name. Leslie's unmotivated local government underlings are initially only window dressing in a first season that focuses on Leslie's social ineptness and overall cluelessness, especially when it comes to her dating life or any kind of decision making. Again, not to say the first six episodes are worthless, but they only serve as an introduction to the workplace setting and a surface glimpse into some of the personalities. It's only when the writers figure out how to flesh out the supporting characters' crazy personal lives and humanize Leslie that the show takes off to absurd heights. There's Tom Haverford (Aziz Ansari), wannabe club impresario, self-proclaimed ladies' man and "Miss Pawnee" judge who landed a wife way out of his league because she would be deported back to Canada. He's also discovered the most creative use yet for the Roomba vacuum. Look up "deadpan" in the dictionary you'll find a picture of apathetic, eye-rolling college student April Ludgate (Aubrey Plaza), Ron's eventual assistant who after learning her lesson the hard way now knows to schedule his meetings for "Marchtember Oneteenth." Even seemingly the most minor and hapless of supporting characters, like the clumsy and frequently mocked Jerry Gergich (Jim O' Heir), who's spotlighted in two of the seasons funniest episodes, one involving the design of a new mural (or "murinal" as he mistakenly calls it) and aother centered around his alleged mugging.

Mustachioed legend Ron Swanson is who everyone will justifiably be talking about by the end of the second season, largely because of the performance given by Nick Offerman, who needs an Emmy handed to him right now. To even call this a performance wouldn't do it justice. As the stoic ant-government libertarian he spends most of the first season grimacing behind his desk which happens to be equipped with a loaded rifle. But by the time the second season opens I can't even begin to describe the direction this character takes. Whether he's moonlighting as saxophonist Duke Silver, nursing his unhealthy obsession with breakfast foods, feuding with crazy ex-wife Tammy (guest star Megan Mullally), dressing like Tiger Woods, accepting his "Woman of the Year" award, being aroused by a shoeshine or demonstrating his woodworking skills, Ron Swanson is, quite simply, an American hero. In contrast to his initial appearances as merely a cranky antagonist to Leslie, it's at the start of the second season when Offerman is let loose to lighten up and go in a million different crazy directions with the role, eventually becoming the linchpin of the entire show. And only you see an interview with the actor out of character do you realize how little he resembles the strangely feline-looking man he plays and just how much of a departure it is for this gifted comedian to bring that creation to the screen. 

How registered nurse Ann finds the time to hang out at city hall all the time (even long after the pit is filled in) and becomes Leslie's BFF is kind of a hilarious mystery, but her relationship with city planner Mark Brendanawicz (Paul Schneider) does open the door for the bizarre antics of the now fully recovered Andy Dwyer in season 2, who for my money not only tops Ron as the show's most hilarious character, but qualifies as the funniest character on TV today. If Offerman deserves an Emmy he should cut it in half and split it with Chris Pratt, who some might remember from his stints on Everwood and The O.C. if not for the fact that he's now gained almost as much weight as DeNiro did for Raging Bull. To say he's "let himself go" for this role as 29-year-old with a 5-year-old's brain would be understatement but the transformation isn't just limited to packing the pounds on as he reveals himself to be a brilliant comic actor capable of so much with just a quick physical gesture or expression. Stalking your ex-girlfriend and harassing her current boyfriend should be creepy but Pratt makes Andy seem endearing and almost child-like in his obsession, making all the uncomfortable laughs comfortable. When he actually gets a "real job" as a shoeshinist at city hall in Season 2 it seems like the profession Andy's always been waiting for, second only to his brief stint as FBI agent Bert Macklin.  The romance between he and another character in the second season is brilliant for just how unexpectedly it develops over the course of just a few episodes.

The idea of characters talking to the camera is used much more effectively here than it ever was on The Office, mainly because here it actually seems like they're letting us in on something no one else knows about. Occasionally you'll catch Plaza giving April's "you can't be serious" look of disgust right into the camera while Azari flashes his mischeivous grin that lets you when know Tom is up to no good or hatching a perverted scheme, which is pretty much all the time. It also gives Ron an opportunity to share his anti-government views while delivering some of the show's most quote worthy lines.  Given that there's such a gigantic leap in quality from the first to second season you may wonder what the point is of even watching the first. I don't have an answer for that. No one would be lost with what's happening if they skipped it but for background purposes its advantageous if you're tolerant of giving a show time to grow and come into its own. And truthfully, 6 episodes is quicker than it takes most sitcoms to gain their footing. Most sitcoms never find it. While there isn't an ongoing narrative requiring the level of commitment that was needed for similarly ratings challenged Arrested Development, some of humor does come with the expectation viewers are familiar with previous storylines and inside jokes so I wouldn't recommend just hopping on board mid-run expecting to be blown away. Also like Arrested Development the series thrives on memorable guest stars that actually add something worthwhile and are incorporated seamlessly. In addition to Mullally, just the first two seasons alone have featured appearances from Louis C.K. Fred Armisen, Will Arnett, Andy Samberg, Pamela Reed, Justin Theroux, John Larroquette, Paul Scheer, Michael Gross and most memorable of all, former Indiana Pacer Detlef Schrempf.

If there's one character on the show that always seemed disposable it was Paul Schneider's Mark, so the writers made a reasonable call eliminating him at the end of the second season. That's not a slight on the actor who's laid back coolness provided a nice contrast to the rest of the cast but he really wasn't doing much and could conceivably return in a guest role down the line. The jury's still out on the addition of Rob Lowe and Adam Scott as auditors sent to rescue the Parks department from bankruptcy in the final few episodes and become regular cast members in season 3, but I keep hearing nothing but positives about both of them so it should be interesting to see what they can offer. It's difficult thinking the show could possibly get better than this, its catchy opening theme song can leave my head or I'll eventually be able to adjust to watching it in its regularly scheduled time slot instead of on DVD. That after such an incredibly strong run of episodes it was still almost axed and ordered as a mid-season replacement earlier this year proves just how hard it is to hook viewers and how frustrating it can be for fans trying to spread the word. The "best show you're not watching" is one of those terms that gets thrown around a lot but in the case of Parks and Rec it's actually true.